A PERSONAL DISCUSSION ABOUT ELECTRONIC VIEWFINDERS AND REAR SCREENS
I started out with the Sony NEX-5 and had no real problem with the fact that there was no EVF. Later I purchased a Sony A7R and loved using the EVF and never used the screen for photography. Eventually I decided that I would never get a camera that did not have a top class EVF. As soon as it became available I purchased a Sony FX30 and until it arrived I did not realise that it did not have an EVF. After using it for more than a year I have formed the view that Using an EVF and depending only on a back screen/back-panel encourages two different styles, equally valid, of photography.
Here’s a breakdown of how EVFs (Electronic Viewfinders) and back screens can influence different photographic approaches:
EVF Photography: The Immersive and Deliberate Approach
Isolation and Focus: Using an EVF blocks out ambient light and distractions. This allows for heightened focus on the composition within the viewfinder.
Pre-visualisation: EVFs show real-time exposure adjustments, effects, and focus peaking. This gives photographers a precise pre-shot view, facilitating meticulous adjustments before capturing the image.
Stability: Bringing the camera to your eye creates a more stable shooting platform, especially helpful in low light or when using longer lenses. This reduces camera shake and potential blur.
Manual Control Affinity: EVFs often pair well with cameras that emphasize manual controls (dials, etc.). This encourages a slower, more deliberate shooting pace focused on intentional adjustments.
Back Screen Photography: Flexibility and Spontaneity
Adaptable Angles: Back screens, especially fully articulating ones, allow for shooting from perspectives that would be difficult with an EVF. This includes high-angle, low-angle, and candid shots.
Street Photography: Screens can be less conspicuous than raising a camera to your eye, ideal for street photography where you want to blend into the surroundings.
Videography: For video work, back screens are often superior for framing and tracking moving subjects.
Touchscreen Functionality: Many cameras offer touchscreen controls like focus point selection or menu navigation, enhancing ease of use for those accustomed to smartphones.
It’s Not Just About The Tool: Photographer’s Intent
It’s crucial to remember that the presence or absence of an EVF doesn’t automatically dictate a photographer’s style. Here’s why:
Experienced EVF users can be spontaneous as well: A photographer familiar with their EVF camera can develop quick reflexes and anticipate interesting moments.
Back screen users can be deliberate: A back-screen photographer can employ techniques like a tripod for stability. They might also rely more heavily on elements like depth-of-field visualisation to compensate for the lack of a real-time exposure preview.
The Takeaway
EVFs and back screens cater to different preferences and offer advantages in specific situations. Understanding these strengths makes a photographer more versatile. Rather than being mutually exclusive, sometimes the best approach is having a camera that offers both options!
20.1 MP Exmor R APS-C (Super 35mm format) image sensor with wide dynamic range
S-CinetoneTM for a cinematic look straight out of the camera without grading
Flexible ISO, Cine EI Quick and Cine EI Log shooting modes for optimized image quality
User LUTs can be applied to the LCD display and HDMI output and embedded in clips
Dual Base ISO and a 14+ stop range for wide latitude and low-noise images
Last update on 2024-03-28 / Affiliate links / Images from Amazon Product Advertising API
The Sony FX30 is a budget-friendly cinema camera that packs a punch. Here are the key points:
Features and Design: The FX30 is a video-first camera but can also capture 26MP stills. It outperforms Sony’s aging A6000 series and even gives the FX3 a run for its money. Cinema Line LUTs, log modes, and 4K 120p (with a crop) make it a versatile choice. Premium build quality adds to its appeal.
Pros: Cinema camera features and design. Cinema Line LUTs and log modes. Affordable price point. 4K 120p (albeit with a crop).
Cons: No built-in EVF (electronic viewfinder).[this did disappoint me] 3-inch rear screen feels small. IBIS (in-body image stabilisation) isn’t very effective.
FX30 vs. FX3 vs. a7R V Sony FX3: Essentially a reskinned A7S III for cinema users. Internal tech in the FX30 is all new. 26MP back-illuminated CMOS sensor.
Sony a7R V: 61MP sensor, more focus points, and higher resolution. Better for photography.
Why Choose FX30: Affordability: Full-on cinema camera at a mirrorless price. Stabilisation and AF technologies. Unlimited recording times and 4K up to 120p. New 26MP sensor matched with a fast BIONZ XR processor.
Lenses for Sony FX30 Wide-Angle Zoom: Sony E 10-20mm f/4 PZ G Lens or Tamron 11-20mm f/2.8 Di III-A RXD Lens. Wide-Angle Prime: Sony E 15mm f/1.4 G Lens or Sony E 11mm f/1.8 Lens. Standard Zoom: Sigma 18-50mm f/2.8 DC DN Contemporary Lens or Tamron 17-70mm f/2.8 Di III-A VC RXD Lens. Portrait:Sigma 56mm f/1.4 DC DN Contemporary Lens or Sony E 50mm f/1.8 OSS Lens. All-In-One: Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD Lens or Sony E 18-135mm f/3.5-5.6 OSS Lens. Telephoto Zoom: Sony E 70-350mm f/4.5-6.3 G OSS Lens or Tamron 70-180mm f/2.8 Di III VXD Lens.
Full Frame Lenses: If you’re already using full-frame lenses, consider the Sony 20mm f/1.8 or Samyang 18mm f/2.8.
I have not been inside this pub for about thirty years and to the best of my knowledge it has changed ownership at least once since then. The current owners purchased and refurbished it in 2018 and before that it had not been trading for at least 3 years.
The Kings Inn Pub in Dublin, Ireland, is a traditional Irish pub with a rich history dating back to the 18th century. While the exact date of its establishment is uncertain, it is believed to have been operating since at least the 1860s, with some sources suggesting it may have been even earlier.
The pub is located on Henrietta Street, just a short distance from the iconic King’s Inns complex, which is one of Ireland’s most important legal institutions.
THE KINGS INN PUB [THIS COULD BE DESCRIBED AS MY LOCAL]-226197-1
THE KINGS INN PUB [THIS COULD BE DESCRIBED AS MY LOCAL]-226198-1
THE KINGS INN PUB [THIS COULD BE DESCRIBED AS MY LOCAL]-226199-1
I do not yet know who is responsible for the new street art at Blackhall Place that has replaced the artwork by Rebecca Walsh.
The name “Blackhall Place” refers to both a street in Dublin, Ireland, and a historic building located on that street.
In 1671, a charitable school for boys of poor families was established, called the Hospital and Free School of King Charles II, Dublin. It became known as the King’s Hospital or Blue Coat School because of the boys’ military-style blue uniform.
The original school, built on a different site, was deemed to be in danger of collapsing by the early 1770s. Thomas Ivory, Master of the School of Architectural Drawing in the Dublin Society prepared a set of thirteen drawings in 1776 for a new design. The building was never finished to Ivory’s design.
In December 1783, the building was opened and the first boys moved into the school.
In 1894, the incomplete tower was removed and replaced by the present cupola. Blackhall Place remained the home of the Blue Coat School until 1968.
The building was acquired by the Law Society in 1971 and, having completed substantial renovations, it was opened as the headquarters of the solicitors’ profession in 1978.
NEW PAINT-A-BOX STREET ART [AT THE LAW SOCIETY OF IRELAND BLACKHALL PLACE]-226076-1
NEW PAINT-A-BOX STREET ART [AT THE LAW SOCIETY OF IRELAND BLACKHALL PLACE]-226079-1
NEW PAINT-A-BOX STREET ART [AT THE LAW SOCIETY OF IRELAND BLACKHALL PLACE]-226074-1
NEW PAINT-A-BOX STREET ART [AT THE LAW SOCIETY OF IRELAND BLACKHALL PLACE]-226078-1
NEW PAINT-A-BOX STREET ART [AT THE LAW SOCIETY OF IRELAND BLACKHALL PLACE]-226075-1
NEW PAINT-A-BOX STREET ART [AT THE LAW SOCIETY OF IRELAND BLACKHALL PLACE]-226077-1
NEW PAINT-A-BOX STREET ART [AT THE LAW SOCIETY OF IRELAND BLACKHALL PLACE]-226080-1
The slipway is mostly used by the Malahide Sea Scouts and Malahide Yacht Club and I use it sometimes to take photographs but today the section that I wanted to use was very slippery so I avoided it.
Back in 2008 Cllr Eoghan O’Brien (FF), said the pier and slipway at St James Terrace in Malahide has ‘fallen into a serious state of disrepair’.
The local councillor had investigating the facility but could find no record of ownership in the land registry records but according to locals it was built by the former Dublin County Council in the 1950s or 1960s.
Cllr O’Brien said that he expected securing council funding would be difficult because the facility was not in council ownership.
I could no think of anything new to say about this bridge so I asked Google’s BARD AI why do so many people photograph the Halfpenny Bridge and it replied as follows [it made at least one major error]:
There are many reasons why people photograph the Ha’penny Bridge. Here are a few of them:
It is a historic landmark. The bridge was built in 1816 and is one of the oldest bridges in Dublin. It is also the only pedestrian bridge across the River Liffey in the city center [Note: not true].
It is a beautiful structure. The bridge is made of cast iron and has a graceful arch. It is a popular subject for photographers, especially at sunset or sunrise.
It is a popular tourist destination. The bridge is located in the heart of Dublin and is easily accessible. It is a must-see for many visitors to the city.
It is a symbol of Dublin. The bridge is often used to represent Dublin in photographs and paintings. It is a reminder of the city’s history and culture.
It is a romantic spot. The bridge is a popular place for couples to take photos. It is said that if you lock a love lock on the bridge, your love will be eternal.
No matter the reason, the Ha’penny Bridge is a iconic landmark that is sure to capture the attention of any photographer.
Here are some other reasons why people might photograph the Ha’penny Bridge:
To capture the hustle and bustle of city life. The bridge is a busy crossing point and is often full of people, making it a great place to capture the energy of the city.
To create a visual metaphor. The bridge can be used to represent a variety of concepts, such as love, unity, or change.
To simply enjoy the beauty of the bridge. The bridge is a visually striking structure and can be enjoyed simply for its aesthetic qualities.